The point is there is no point.

“After all, Lindbergh loves women. Most famously, his eye is responsible for defining the era of the supermodel.”

Excerpt from an interview with Peter Lindbergh.

“His pictures, often rendered in black and white with their industrial guts (cameras, lights, cords) showing, exhibit a deconstructed kind of beauty. “I show elements of the set in my pictures because it’s not real,” Lindbergh explains. “When I see movies, I often love the ‘making of’ more than the movie itself. It’s not so final. When you have a woman just standing there, it doesn’t mean much.”

Lindbergh’s success is due to one thing: His pictures mean a lot. He originally studied art in Berlin, beginning his photography career almost by accident. “Someone I knew needed an assistant. But I could have easily been a baker or worked in a flower shop.” In 1973, he started shooting monochromatic advertising campaigns. (“Black and white, you see under the skin, no?”)”

I was never idle long enough to do much thinking, but I felt somehow that my instincts were right. I shared a vagrant optimism that some of us were making real progress, that we had taken an honest road, and that the best of us would inevitably make it over the top. At the same time, I shared a dark suspicion that the life we were leading was a lost cause, that we were all actors, kidding ourselves along on a senseless odyssey. It was the tension between these two poles - a restless idealism on one hand and a sense of impending doom on the other - that kept me going.
-Hunter S. Thompson (The Rum Diary)